| You should provide a complete score, not just the f-cards. Otherwise no-one
can test what you're doing.
Regards,
Russell Pinkston
>Hi,
> Whilst looking into the effect of the first fraction of time upon
>perception of the whole timbre of a sound I have been playing with
>some very simple FM synthesis scores. I'm very puzzled now. The .ORC
>that follows is a standard single carrier FM orchestra, and two
>.SCO's follow. I thought that the difference in tone and timbre
>percieved in the two was a result of the initial time segments
>differing, but the difference is an actual characterisic of the whole
>sound. If the resulting sound files from each are edited to have the
>first part removed, they still sound very different. What am I
>missing here, how can they be physically different in the latter
>stages ??
>
>
>
>;
>; Single Carrier FM ;
>;
>; Specific values and basic design come from John Chowning's
>article ; ; "The Synthesis of Complex Audio Spectra by Means of
>Frequency Modulation" ; ;; ; coded by Richard Boulanger - Berklee
>College of Music ; ;
>
>instr 1
> ; p4 = amplitude of output wave
> ; p5 = carrier frequency in Hz
> ; p6 = modulating frequency in Hz
> ; p7 = modulation index 1
> ; p8 = modulation index 2
> ; p9 = carrier envelope function
> ; p10 = modulator envelope function
>
> i1 = 1/p3 ; one cycle per duration of note
> i2 = p7 * p6 ; calculates deviation for index 1
> i3 = (p8-p7) * p6 ; calculates deviation for index 2
>
> ampcar oscil p4,i1,p9 ; amplitude envelope for the carrier
> ampmod oscil i3,i1,p10 ; amplitude envelope for the
> modulator
>
> amod oscili ampmod+i2,p6,1 ; modulating oscillator
> asig oscili ampcar,p5+amod,1 ; carrier oscillator
> out asig
>endin
>
>;score one
>
>f1 0 1024 9 1 1 0
>f2 0 513 7 1.04 21.63 .56 149.43 .54 85.37 .54 85.53 .54 85.53 .54
>85.53 .54
>f3 0 513 7 .54 85.54 .54 85.53 .54 85.37 .54 85.53 .54 85.53
>.54 85.53 .54 i1 0 0.5 10000 440 400 10 15 3 2 e
>
>; score two - difference is in p5 of f2 (.55 instead of 1.04)
>f1 0 1024 9 1 1 0
>f2 0 513 7 .55 21.63 .56 149.43 .54 85.37 .54 85.53 .54 85.53 .54
>85.53 .54
>f3 0 513 7 .54 85.54 .54 85.53 .54 85.37 .54 85.53 .54 85.53
>.54 85.53 .54 i1 0 0.5 10000 440 400 10 15 3 2 e
>
>
>*************************************************
>Peter Kearton,
>University of Surrey Psychology Department,
>Guildford,
>United Kingdom.
>GU2 5XH
>Tel. UK (01483) 259437
>e-mail - P.kearton@surrey.ac.uk
>*************************************************
>
>
----------------------------------
Russell F. Pinkston, D.M.A.
Associate Professor of Composition
Director, Electronic Music Studios
School of Music
The University of Texas at Austin
Austin, TX 78712
[512-471-0865]
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